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Is 'Doctor Strange' Director a Sign That Marvel Is Moving Away from Comedy?

Marvel Studios
"Dying is easy; comedy is hard."
It might have been a DC Comics character who revived these final words of 19th century thespian Edmund Kean, but it is Marvel that seems to be taking the maxim to heart, perhaps having at last stumbled upon the dark side of comedy direction. Since the latter half of its first phase of movies, Marvel Studios has prioritized a comic hue over intensity or grit, hiring unlikely folk like Joe Johnston, Shane Black, the Russo Brothers, and James Gunn (whose upcoming Guardians of the Galaxy looks like a riot) to turn what might have been adrenal actioners into wry character pieces. But the latest filmmaker to take up with the company is of a different breed. Still wading through the muck of a post-Edgar Wright production of Ant-Man, unable to find a director of note to take the reins from the manic brain behind the Cornetto Trilogy, Marvel has announced a partnership with horror director Scott Derrickson for its upcoming Doctor Strange feature. Variety reports that the man behind Sinister, The Exorcism of Emily Rose, and sci-fi/thriller The Day the Earth Stood Still will handle the long gestating feature, a particular passion of super producer Kevin Feige.
Getty Images/Araya Diaz
It is interesting both that Derrickson arises as a stark contrast to the Marvel helmers of Phases 1 and 2 — genre subverters, sitcom folk, the Honey I Shrunk the Kids dude — as well as smack dab in the middle of the company's high profile Ant-Man mess. Having lost Wright over a disharmony in desired tone of the film, Marvel might only now be realizing just how ribald a comedic vision can be. The difficulty Marvel faces in replacing Wright — Adam McKay (director of various Will Ferrell movies) and Rawson Thurber (of Dodgeball and We're the Millers) have already turned down the prospect, per The Wrap — seems to be no unlikely contributor to its realization that the comedy game is a lot tougher than anticipated back in the inceptive Winter Soldier days.
Marvel Studios
So now we have Doctor Strange, a character that is far from exempt of the same brand of personality and farce that we saw in The Avengers, both Captain Americas, Thor 2, and (perhaps most of all) Iron Man 3. And we're worried. Not so much about Doctor Strange in particular — the property is steeped in supernatural elements worthy of a great horror director's touch (and Derrickson is, indeed, a great horror director) — but about the future of Marvel on the whole. The company has built such a strong, satisfying franchise thanks not simply to its devotion to its characters but principally to its devotion to joy, personality, humanity... all the inherent facets of comedy. A Marvel that is afraid to have fun — resultant of its dissolution with Edgar Wright (the "funnest" guy it has ever hired) and inability to find a director to peter down his wily voice — is not a Marvel of promise.
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Everett Collection
Some pairs are just meant to be onscreen together, whether its Fred Astaire and Ginger Rogers or Bud Abbott and Lou Costello. They have a connection and chemistry that is hard to quantify and even harder to manufacture. As far as today's stars go, Will Ferrell and John C. Reilly have proved that they have that kind of connection when they're working together. So have Seth Rogen and James Franco. With each duo in the early stages of new big screen projects, we ask fans: Which of the bro-tastic pairings are you most looking forward to see reunited?
Ferrell and Reilly
It's not exactly the most logical fit. Ferrell comes from the Saturday Night Live school of goofy man-child characters and Reilly was once considered an up-and-coming dramatic actor working with directors like Martin Scorsese, Paul Thomas Anderson, and Terrence Malick. Then Reilly became Ferrell's dimwitted sidekick in Talladega Nights: The Ballad of Ricky Bobby and soon the two were doing red carpet bits in character. They reteamed for Step Brothers, a film that gave new meaning to the term "arrested development" and established Ferrell and Reilly as a powerhouse comedy duo. Since then they've appeared in Funny or Die shorts together and Reilly made a cameo in last year's Anchorman 2: The Legend Continues. They each continue to do a full slate of work on their own — Reilly in particular stays extremely busy — making it clear that when they work together it's because they want to. The pair is set to reteam with director Adam McKay, Ferrell's frequent collaborator and Step Brothers director, on a comedy called Border Guards about two guys that end up on the wrong side of the Mexican border while trying to protect the United States from illegal immigrants.
Rogen and Franco
As opposed to Ferrell and Reilly, who had plenty of success individually prior to working together, Rogen and Franco started out working with one another in Judd Apatow's critically TV cult classic Freaks and Geeks. The pair shared screentime and exemplary chemistry with Jason Segel, Busy Philipps, and Linda Cardellini as the titular "freaks." While Franco went off and found stardom in the Tobey Maguire Spider-Man movies, Rogen hung around with Apatow long enough to find a fan base of his own after films like The 40-Year-Old Virgin and Knocked Up. Around the same time that Ferrell and Reilly did Step Brothers, Franco and Rogen reteamed for Pineapple Express. Then there was last year's This Is the End, where Rogen and Franco played amplified versions of themselves. Since then, they've taken to the net to spoof Kanye West's "Bound 2" video as well as Vogue's photo shoot with Kim Kardashian, and Franco popped in on Rogen's recent hosting turn on Saturday Night Live. The affection that they have for each other shows… sometimes more than you could even expect, such as the over-the-top (and shirtless) displays of love in the Bound video. Rogen and Franco, through their production companies, are planning to produce a film version of the book The Disaster Artist about the making of the notoriously bad cult movie The Room.
Perhaps someday Ferrell, Reilly, Franco and Rogen will all make a movie together — and considering Ferrell's and Rogen's proclivity for cramming famous people into their projects that isn't too far-fetched — but for now we're making you choose. So, who's it going to be? Vote below to tell us which duo — Ferrell and Reilly or Franco and Rogen — you can't wait to see more comedy gold from.
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DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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Paramount Pictures
Even Anchorman 2 can't contain its excitement for Anchorman 2. According to Deadline, Paramount has decided to push up the release date of Anchorman 2: The Legend Continues from Dec. 20 to Dec. 18.
The decision to move up the release date is most likely another way for the film to increase the amount of hype it's garnering from media attention. In recent months, Anchorman 2 and Ron Burgundy himself have been plastered everywhere. From the newsman attempting to sell Dodge cars, to a new flavor of Anchorman-inspired Ben and Jerry's ice cream, to an upcoming rumored look at Ron Burgandy taking over ESPN's flagship show Sportscenter, Paramount has successfully drowned us all in Anchorman advertisements and promotional spots. And most recently, the news team got together at the Australian premiere of the film and skillfully reprised their rendition of "Afternoon Delight," which you can watch in the below clip:
The Adam McKay-directed sequel to the 2004 film reunites the ultimate news team made up of Carell, Will Ferrell, Paul Rudd, and David Koechner. The cast also includes the likes of Christina Applegate, Harrison Ford, Kristen Wiig, Vince Vaughn, James Marsden, Greg Kinnear, Amy Poehler, and Tina Fey.
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Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
3.5/5
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One of the joys of the original Anchorman was seeing Will Ferrell wrangle the best comedic talent in the business into one absurdist fable. Not only was the core team one of funniest of ensembles of all time, but the movie was littered with cameos. And they worked — the news anchor rumble is sublime comedy cinema.
Judging from casting reports arriving from the set of the long-awaited sequel Anchorman 2, Ferrell may have been able to work his contacts yet again to fill the follow-up with an all-star cameo cast. Is there some sort of Hollywood Linkedin that makes this all possible?
The latest addition to Anchorman 2 is one of Ferrell's former costars, but not one of the overtly funny ones — adding charm to her inclusion. Who is it?
Possible spoiler of Anchorman 2 coming at you.
According to The Hollywood Reporter, Nicole Kidman has shot a cameo for Anchorman: The Legend Continues, reuniting with Ferrell, her Bewitched costar, for a secret role. There's also no word if she'll be wearing her fake nose from The Hours for an arbitrary reason.
RELATED: Is 'Anchorman 2' a 'Morning Glory' Sequel?
Along with Kidman, Harrison Ford has also filmed a brief role for the sequel, and anchorman deathwatch combatant Vince Vaughn is rumored to be returning as well. As was the case with Anchorman, there may even be cameos the Internet isn't able to hunt down before the movie hits theaters December 20, 2013 (implausible, but possible). With so much star power being primed for the sequel, Ferrell and his Anchorman director Adam McKay make a gamble. An array of cameos worked for the first movie, which had a cool opening in theaters before catching on as a cult hit. People discovered the movie, and in turn, the random actor appearances that flurry the film. Replicating the recipe for Anchorman 2, and with bigger stars, is tricky. There's an event horizon for the tactic — one too many cameos and suddenly, the movie is limping with a crutch.
The cameo is the trickiest gag to pull off. The goal of a celebrity's inclusion into the fictional world is essentially to pull the viewer out of the movie. A famous face walk-on raises awareness that what you're watching is completely fake and that recognizable people are in on the joke. A well-timed cameo can be hilarious — "Oh my gosh, they got that guy!" They can also be… less effective. While basketball star Patrick Ewing showing up as an Angel in The Exorcist III was likely meant to pull the rug from under us, adding a mind-bending element to the movie, it plays as goofy. The same fumbling can occur in comedy with significantly less laughter.
Ewing's The Exorcist III appearances may have been palatable (emphasis on "may") had it not been for a clutter of other cameos around it, including Samuel L. Jackson, Larry King, and Fabio. It entered gimmick territory. That works for some movies: it was a selling point for 1956's Around the World in Eighty Days (Frank Sinatra! Peter Lorre! Cesar Romero!), and became a point of world building for Robert Altman's showbiz-driven The Player and political comedy Dave. Spike Jonze's Being John Malkovich took the "realism" aspect to the next level with: The movie required cameos just to make it believable that John Malkovich felt like a real character. Seeing Brad Pitt vouch for the thespian and Charlie Sheen appear as an old friend added gravity to the drama.
Inversely, cameos don't have to make sense to work. Anchorman is a prime example, along with every Saturday Night Live movie ever made, and another non sequiter classic, Zoolander. But these movies weren't building off the success of a similarly patterned predecessors. The "lighting doesn't strike twice" fear of Anchorman comes from 10 years worth of investment on the parts of fans. Anchorman 2 requires cameos — it's a defining part of the original — but risks having too many, being too random, feeing disingenuous to the frat house feel of the first movie.
If there is any franchise that gives us blind hope for Anchorman 2's delicate use of cameos, it's the Muppet movies. Jim Henson and his crack team of filmmakers worked magic with big name talent, their appearances always complimenting the Muppets rather than stealing the spotlight. Rounding up Steve Martin, Bob Hope, James Coburn, Madeline Kahn, and Orson Welles could be a lame attempt at earning cred, but by lowering their status (the celebs always played second fiddle to the puppet stars), it lampooned what we knew about them. Anchorman 2 has the heightened world to play like the Muppets. If you're going to put Kidman in your movie, push her further than Hollywood has allowed her to go.
Maybe bringing back The Hours nose isn't a bad idea.
So how many cameos is too many cameos? What cameos work and which ones fall flat? Name the best and worst in the comments.
Follow Matt Patches on Twitter @misterpatches
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This news put me in a glass case of emotion. James Marsden has joined the cast of Anchorman: The Legend Continues, the sequel to Will Ferrell’s comedy classic. While plot details have been mainly kept secret, Deadline reports that Marsden will play a rival anchor and nemesis to Ferrell’s Ron Burgundy.
Unlike milk, this is a great choice. We know Marsden can bring the funny, thanks to his arc on 30 Rock’s final season as Criss Chros, Liz Lemon’s husband, as well as last year’s Bachelorette.
RELATED: Kristen Wiig Officially Joins 'Anchorman 2': Don't Act Like You're Not Impressed
Not much else has been leaked in regards to the highly anticipated sequel which shoots in March, but Christina Applegate did slip news of Kristen Wiig’s casting on Twitter earlier this month. Wiig will be playing the love interest to Steve Carell's idiotic Brick Tamland (to rival his love for lamp). Wiig and Marsden will join most of the original Anchorman cast: Ferrell, Applegate, and Carell, as well as Paul Rudd and David Koechner. Adam McKay is directing for the December 20, 2013 release.
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[Photo Credit: Wenn]
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Tonight's new episode of Dexter has opened up the floodgates. Things are happening fast in Miami—puzzle pieces are being put together left, right, and sideways—and returning to form, the human element has gotten in the way. It was a strong episode for the seventh season, and one question remains: what can be done when it comes to matters of the heart?
We left off last week with a bevy of new information coming Dexter Morgan's way. And...a whole lotta booty! (Oh SNAP!) That's right, Dexter Morgan finally got down and dirty with fellow serial killer Hannah McKay in one of the most surprising and (we hate to admit it) sort of hot sex scenes ever seen on the show. And as we all know—though Dexter certainly seems to need some lessons—sex sometimes, well, complicates things. And in Dexter's case, it certainly complicates how he feels about Hannah, and whether or not she should end up dead on his table, rather than in the throws of passion.
And when this season's seventh episode opens up (the appropriately-titled Chemistry), we find Dexter contemplating how and why their relationship got to this point. Dexter is probably a bit of a sociopath, so he doesn't understand feelings or emotions, especially when logic is compounded by one or worse, both. But, in a surprise to no one, Hannah and Dexter actually work. Birds of a feather flock together, as the saying goes.
The couple's freaky tryst continues when—no doubt in a moment of insecurity, because are these two ever really going to be able to trust each other?—Hannah takes a knife to Dexter's throat before going at it again (serial killers are into some crazy s**t). This relationship is different. The two of them are different. Because at long last: two people so fervently on the outside have found someone else that completely understands them, down to their very core. It's something that I'm sure Hannah never thought she would find, and something Dexter has never been able to understand in the past.
But Dexter and Hannah aren't the only ones with chemistry—Deb is finally letting go of any (we hope) creepy feelings for Dexter and moving on with her life. And where does Deb search for potential romantic solace? Why the true crime author Sal Price, of course (interesting, given her terrible track record with men either being murdered or murderers). We all know that Deb has this sort of Black Widow quality to her—does this mean Sal's days are numbered?
Of course it does. Because Sal is hot on the trail of not one, but two serial killers: Hannah and Dexter. And while he doesn't know that Dexter is a serial killer, unknowingly messing with a murderer might even be worse than if he did. Sal pushes Hannah to go on record for his newest book—and with the mention of Dexter's name, Hannah succumbs to his requests. Only Hannah sees an opportunity: to finally put Sal in a place that won't affect her anymore. While Dexter attempts to coerce Sal with blackmail (setting Sal up to look like the murderer in one of his best-selling novel's unsolved cases), Hannah has other plans. And we all know what happens when you cross a serial killer.
Another chemistry-laden relationship with terrible consequences? Poor, dear, misguided Quinn and his dancer-girlfriend Nadia. Quinn has stolen the evidence pegging Isaak Sirko to the Colombian drug lord murders in order to free his girl from the evil grips of the Koshka Brotherhood. In doing so, he's mixed "sulfer with s**t" (which played nice and literally when the Koshkas contaminated the crime scene to ensure Sirko's release) and caused a world of trouble for Deb and Dexter. And when Nadia finds out that Quinn's possibly made a deal with the big bad Ukrainians, she knows he's f**ked up. Such a hopeless romantic, that Joey Quinn. Too bad it burns him every.single.time. Don't count on his threats to George at The Fox Hole to have any weight with the Koshkas anytime soon. This boy is a dirty cop whether he wants to be or not.
Speaking of the Koshkas, Isaak certainly seems to have quite the fondness for Dexter. Does someone have a weird thing for our favorite ginger murderperson? (Yes, but that thing is a thirst for blood, not love.) He shows up at Dexter's lunch hour to talk business: death business! But Isaak is not alone: he comes complete with a police team tailing him at every turn. Are these cops surprised/weirded out by this meeting of a should've-been bad guy and a Miami law enforcement official? Or are they just that bad at their job that they don't notice who Isaak is talking to so openly about murder? This seems like a great way to frame Dexter as the mole within the department, doesn't it? But I digress! The two are brutally honest with each other at this point—because both men are convinced they'll be the one to take the other down. Perhaps they'll both do each other in: wouldn't that be something? This one's going to be a fight in any event, that's for sure.
Getting back to the Sal Price storyline: well, he's dead. That was fast! He's also in a really unfortunate location: Dexter's apartment. Sal was poisoned and suffered a heart attack: looks like Hannah won the race to silence Sal Price. The biggest victim in the Sal's murder? Well, it's a tie: Debra Morgan is one (for sure) and also, Hannah's victims. Seems like both have lost an opportunity for happiness and closure.
Arguably one of the biggest bombshells of the night involves LaGuerta. Though it was only a brief moment within the episode. After Deb tried to convince LaGuerta that perhaps they needed to let the Doakes/Bay Harbor Butcher case go, our lady of perpetual interest has not let the evidence go cold. Yes, that's right, the one that would "never" figure Dexter out (famous last words, I called you!) is mere moments away from discovering the real identity of the Bay Harbor Butcher—thanks to the boat records attaching Dexter to the body-drop point in the ocean. Remember when LaGuerta was just a girl with a crush on a blood spatter expert in season one? Oh how times have changed.
Ch-ch-changes! They're everywhere, really. Though for Miami's most attractive murder couple, it's adjusting to their own feelings which takes the most effort. For Dexter and Hannah, figuring out where each other stands is difficult. They can't seem to stop caring for each other, to their own chagrin: Hannah only talked to Sal if he agreed to leave Dexter out of it. Dexter grabbed evidence to plant/blackmail Sal and then took it all a step further, ruining Sal's book by deleting his research on Hannah. No matter how many times these two try to say goodbye, they can't keep out of each other's orbit. "Chemistry deals with the reactions between elementary forms of matter. Separate the elements and you negate the reaction," says Dexter. Of course Dexter tries to break it down to science. To something so cold and unfamiliar when it comes to matters of the heart. But when the two elements have minds of their own, they can react in other ways. Hannah's killed Sal with one of her more untraceable poisons, and Dexter's both upset and relieved. Can he really trust another person? Is looking out for Hannah and her for him, really such a bad thing?
But it's Deb who has the biggest change of heart. Burned yet again by another potential love of her life getting murdered, she wants Dexter to do what he does best: kill Hannah McKay. After weeks and weeks of being unable to comprehend and logically accept Dexter for who he is, she is finally at peace with his serial killing shenanigans when her heart is broken. Love makes us all do crazy, crazy things.
"We both know it wouldn't end well," says Hannah, no doubt foreshadowing future episodes. Will Dexter's killing of Hannah (if it happens) be the downfall of Dexter?
Some other things to note: Quinn totally knows that Dexter was lying about the argument between him and Sal—will this come back later? Angel's restaurant has a backer now, with Quinn's $10,000—is that the money from the Koshkas? And if so, will this ruin Angel's life if the source of the funds is uncovered? Jamie returns (doing laundry for Dexter?)—does that mean little Harrison is on his way back to Miami? Hannah wanted kids—not afraid to pass those evil genes on, is she? Will she make a good new mommy for Harrison? Oh, and does anyone else think there's something poisonous in those orchids on Dexter's desk that might slowly, slowly, slowly be poisoning him to death?
So many questions, so little time! What did you think of this week's episode of Dexter? Let us know in the comments!
[Photo Credit: Showtime]
Follow Alicia on Twitter @alicialutes
More:
'Dexter' Recap: Everybody's Doing It
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Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
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Well they're certainly walking a hard line with this one, aren't they? The Hollywood Reporter has details on the up-and-coming new comedy from screenwriter Jeff Tetreault titled Johnson. This will be the seminal film for the writer, and according to Tetreault, "it’s semi-autobiographical." Sounds like he'll really be exposing himself.
The film tells the story of Rich Johnson (played by Cam Gigandet), a working stiff and sexual blow-hard whose excessive lady-bedding causes him to get shafted by his own overworked junk. His genitals take on human form and are played quite erectly by the comedian Nick Thune.
According to Tetreault, there was slight worry if Thune could really pull it off: "Nick is only 6’4, though. Shaq would be more of an accurate physical representation" of the lost member in question. Looks like Tetreault will just have to suck it up, though, as filming gets underway in Chicago next week.
The film's over-the-top sense of humor wasn't too gag-inducing, though. Huck Botko, the recent director of Adam McKay and Will Ferrell's The Virginity Hit has signed on to helm the flick. At least he doesn't have to hang around those two nuts all day.
Looking forward to Johnson? Try and get a rise out of us in the comments!
[Photo Credit: WENN.com]
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